Saturday, July 31, 2010

What is Singing?

The act of creating melody using the voice is called singing, and a singing individual is termed as a singer or a vocalist. Singing is often distinguished from speech, and in many ways singing is regarded as a type of sustained speech. Hence, it is thought that anybody who has the ability to speak can also sing.

The musical sounds produced through the act of singing are called songs. Songs may be a capella, which means that it is sung without accompaniment, or they may be sung with accompaniment in the form of musicians and musical instruments. Singing may also be performed alone, or it may be performed with a group, with a choir being an example.

Singing may be done for simple enjoyment and this is done informally, such as singing while in the shower or singing in a karaoke bar. It may also be done very formally, as exemplified by professional singing for a performance, whether live in front of a watching crowd or in a recording studio. In this case, singing done on a professional scale, or at least on a high amateur level, entails the presence of some natural talent and a significant amount of regular, consistent and serious practice, which may be further enhanced with training and instruction. In general, professional singers develop and shape their careers around a particular musical genre. Furthermore, it is not uncommon for them to submit themselves to voice training under a voice coach all the way through their career.

The quality of a singing voice depends largely on the physical make-up of an individual. In particular, body parts such as the lungs, larynx, cavities of the head and chest, and other structures like the tongue, palate, lips, teeth, and the muscles of the neck, chest and abdomen.

Singing voices may be classified according to voice type, and is further subdivided according to male and female voices. The classification of voices involves the consideration of vocal range, vocal tessitura, vocal transition points like lifts and breaks in the voice, vocal weight, vocal timbre, vocal registration, physical characteristics, speech level, and the like.

The science of classifying voices originally arose in the development of European classical music, generally for the purposes of opera, such as in assigning certain roles according to type of voice. The classification of voices is hardly used in more modern singing varieties. Nonetheless, at present there are various systems of voice classification employed in the genre of classical music. Examples include the choral music system, the German Fach system, and several others. However, none of these systems is conventionally acknowledged or put to use universally.

Be that as it may, most of the systems of voice classification recognize seven specific main voice types, and this is also divided according to sex. Females are generally classified into three different voice types, which are soprano, mezzo-soprano and contralto. Men, on the other hand, are generally categorized into four different voice types, and these are countertenor, tenor, baritone and bass. Furthermore, the classification of voice type in children of pre-pubescent years also entails the consideration of treble. In addition to this, further sub-categories are applied within each of these specific main voice types, with consideration of particular vocal characteristics such as vocal weight and coloratura.

Learn to Play the Piano

When you start to learn to play the piano, there are some things you will need to do in order to be successful. You should have a piano or an electronic keyboard to get started. You should buy, rent or borrow it. Find a time during the day when you can be by yourself to practice.

Ask someone who plays the keyboards for advice. This could be an organist in a church or band, or someone who plays or used to play the piano.

You will need to practice on a regular basis to be good on the piano. Be patient. Don't compare yourself with others. Everyone learns at his or her own pace. You must also work on blocking distractions while you are practicing.

Learn to play the piano

Before you start to play any scale or chord on the piano, you must first learn the notes and how they relate to one another.

There are three types of notes

1. The natural keys or notes -These are basically all of the white keys on the piano. The names are A-B-C-D-E-F- and G.

2. The sharp keys or notes(#)- These are the black keys (going from left to right ) on the piano.

3. The flat keys or notes (b)-These are the same black keys or notes going from (right to left) on the piano.

When you hear a musician say play this song in C, he means C natural, without any flats or sharps. Or he could say D# which would mean D Sharp. Or he would say F b which means F Flat.

Learn to play the piano

You will notice, upon looking at the piano, that the black keys or notes are raised above the white keys and groups of two's and three's. This will help you identify the keys on the piano.

While practicing the piano or any musical instrument, take your time and don't rush it. There are a lot of things you won't get at first, but keep practicing.

With practice and patience, you will learn to play the piano.

Friday, July 30, 2010

For Music Lovers - The Most Beautiful Music Festivals This Summer in Umbria

For those who love music, a holiday in Umbria can be an excellent combination of relaxing oneself and enjoying culture. One can find almost everything, from classical music to jazz and blues. And everything is on an absolutely high level.

Today we present four festivals which are definitely not to be missed.

TRASIMENO MUSIC FESTIVAL, Magione, June 26 to July 2, 2010

The TRASIMENO MUSIC FESTIVAL was founded by the world famous Canadian piano player Angela Hewitt (recently honoured in Cannes as "best instrumentalist of the year 2010", one of the best Bach-interprets world wide).

The castle of the Maltese knights of Magione, the abbey San Pietro in Perugia and the church San Domenico in Gubbio form the impressive setting for high calibre concerts of classical music with internationally renowned artists and emerging talents. Together with Angela Hewitt 2010 the violoncello player Pieter Wispelwey, the Quartetto di Cremona, the Orchestra di Camera di Mantova and the Soprano Ilona Domnich will give concerts.

UMBRIA JAZZ FESTIVAL, Perugia, July 9 to July 18, 2010

UMBRIA JAZZ was founded 1973. Today it is one of Europes most important jazz festivals. During the festival Perugia becomes the favourite place to go for thousands of jazz enthusiasts from all over the world.

Everywhere in the town people can visit small concerts, many of them for free. As every year also at the 2010 edition of UMBRIA JAZZ you will find at Perugia jazz, rock, pop, and blues musicians of international fame.

TUSCAN SUN FESTIVAL, Cortona, July 31 to August 5, 2010

The TUSCAN SUN FESTIVAL takes place annual in the picturesque medieval town of Cortona. Music lovers can enjoy open air concerts on the Piazza Signorelli or chamber concerts in the nearby Signorelli theatre.

2010 at Cortona will be performing such illustrious artists as the soprano Renée Fleming (two time GRAMMY winner), the violin virtuoso Joshua Bell, 'BBC Cardiff Singer of the World', Ekaterina Scherbachenko and cello player Steven Isserlis (Gramophon award winner).

TRASIMENO BLUES FESTIVAL, Lago di Trasimeno, July 22 to August 1, 2010

The TRASIMENO BLUES FESTIVAL is probably the most important blues festival in Italy. In the little towns around Trasimeno Lake you can listen in relaxed atmosphere to legendary blues musicians as well as to spectacular emerging talents, enjoying a cool beer or a good glass of wine. Many visitors like to dance, once the rhythm hits them. Most concerts are free and listening to the blues in a warm summer night on the lake shore makes you feel almost like being in the Mississippi Delta.

Thursday, July 29, 2010

Hawaiian Music History

Hawaiian music is a product of years of acculturation of different cultures and sounds, a wonderful melding of different  Its history is as diverse as the history of its peoples.

Hawaiians did not merely absorb music and instrument brought to the island. They adapted music based on how it  their own traditional songs and chants. As a result, the Hawaiians have given the world the slack key guitar, the steel guitar, and the ukulele among others.

Traditional Hawaiian folk music is primarily a celebration

of nature, their gods, and love of life. Religious in nature, Hawaiian music traditionally involved chant and hula. Chants were either accompanied with music and dance (mele hula) or without (mele oli).

Before the arrival of the Europeans and their guitars, traditional Hawaiian musical instruments included the ipu (gourd drum), ipu heke (double gourd drum), ili'ili (two flat stones clicked together),  ohe hanu inu (wooden nose flute), large Conch shell that produces deep resonant sounds when blown, pu ohe (bamboo trumpet), and puili (slit sticks made from bamboo). Hawaii has little metals and minerasl (besides lava) so their ancient musical instruments were mostly made from shells, plants, and trees.

Documented Hawaiian music history did not start until the 18th century upon the arrival of the haoles (non-Hawaiian) in the island. Hawaiian culture expert Elizabeth Tatar divides Hawaiian music history from the arrival of the Europeans to the present into seven periods:

1820 to 1872

Mexican cowboys (vaqueros) came to Hawaiian with their guitars. King Kamehameha III brought them to teach Hawaiians how to control overpopulation of cattle in 1832. They taught the Hawaiians how to play the guitar. The Hawaiians changed the tuning of the guitar to adapt it to their traditional Hawaiian songs and chants. They loosened or slackened the strings of the guitar, thus giving the world the slack key guitar.

Though slack key guitar became popular, families kept  their own string tuning styles a secret. For this reason, slack key guitar (called Ki ho 'alu by Hawaiians) was a "back porch" musical instrument until Gabby Pahinui popularized it in the 20th century.  

During this period, numerous styles of European  music including Protestant hymns and falsetto singing.

Wednesday, July 28, 2010

Beginner Ukulele Chords Part 6 - How to Play a B Minor Chord

So far in this series on beginner ukulele chords, we have been looking at chords that have been fairly simple to play. In this part, we are going to step things up a gear.

All beginners start out with the same chords and those chords only require you to fret one note at a time with each finger (e.g. in the F chord, your middle finger only has to hold down the G string and your index finger only has to hold down the E string). Today's chord is more tricky.

Today you will have to hold down more than one string with a single finger. In order to play the B minor chord, you will have to perfect this technique.

How to Play a Barre Chord

Barre chords are those that require you to lay your finger across two or more strings in order to play the chord. B minor chord is such a chord.

In order to create a barre take your index finger (or 'pointer' finger if you prefer) and lay it across all four of the ukulele strings at the third fret. Press it down so that all the strings are firmly held against the neck of the ukulele.

Pluck each string on the ukulele in turn. Doing it this way will mean you can hear which strings are ringing clearly and which are muted. This is a tricky technique to get right, so take some time to make sure you have got the hang of it.

The best way to play it is with your thumb right behind the neck. This will give you extra pressure to hold down the strings.

Playing A B Minor Chord

To play B minor (or Bm for short), recreate your barre across the second fret. Make sure all the notes are sound clearly. Now fret the G string at the 4th fret with your third (ring) finger.

Most people find that when they attempt to add this extra note to the chord for the first time it sends the barre off and the notes aren't ringing clearly again. Try changing your hand around until everything is back again.

Andrew Hill Dance With Death Jazz Music CD Review

The exceptionally talented Jazz artist Andrew Hill has released him CD entitled Dance With Death. I am very confident and happy to announce that I believe Andrew Hill fans, and Jazz fans alike will be pleased with this one. With the release of Dance With Death Andrew Hill's artistic excellence is on full display as Hill has once again delivered a brilliant collection of tracks that could very well be him best work to date.

I wish it weren't the case but, it's not everyday that I get a CD from an artist that I can just pop in and comfortably listen to from beginning to end. There is usually a song or two that I just can't force myself to get through. Not at all the case with Dance With Death. Every track is enjoyable and was pretty easy for me to listen to from start to finish.

One of the nicer things about a CD like this is with this level of talent even if Jazz isn't your favorite genre you still can't help but appreciate the greatness of the artist.

Overall Dance With Death is a solid release. Quite possibly Andrew Hill's best to date. Really sensational from beginning to end. If you're even mildly into Jazz music you'll enjoy this album.

While this entire album is outstanding the truly standout tunes are track 4 - Dance With Death, track 5 - Love Nocturne, and track 7 - Dance With Death.

My Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 1 - Yellow Violet. Wow!

Dance With Death Release Notes:

Andrew Hill originally released Dance With Death on October 5, 2004 on the Blue Note Records label.

CD Track List Follows:

1. Yellow Violet

2. Partitions

3. Fish 'N' Rice

4. Dance With Death

5. Love Nocturne

6. Black Sabbath

7. Dance With Death - (previously unreleased, alternate take, bonus track)

Personnel: Andrew Hill (piano); Joe Farrell (soprano saxophone, tenor saxophone); Charles Tolliver (trumpet); Victor Sproles (double bass); Billy Higgins (drums).

Recording information: Van Gelder Studios, Englewood Cliffs, New Jersey (10/11/1968).

Tuesday, July 27, 2010

Bona Fide "Poe House" Smooth Jazz Music CD Review

Poe House is the latest Smooth Jazz CD put out by the extremely talented group Bona Fide and they have once again has delivered a brilliant collection of tracks. I'm confident Bona Fide fans, and Smooth Jazz fans alike will be pleased with this one.

This one grabs your attention right from the outset with Club Charles and won't let go until the very last note of the very last song Goose, which by the way is another great track.

One of the nicer things about a CD like this is when the talent is this rich even if Smooth Jazz isn't your favorite style you still can't help but appreciate the greatness of the artist.

I'm of the opinion that Poe House is certainly Bona Fide's best work to date. A totally enjoyable CD and an outstanding release. What I call must have music. I give it two thumbs up because it's a collection that even the casual Smooth Jazz fan can appreciate and enjoy.

While this entire album is outstanding the truly standout tunes are Club Charles [track 1], Willie Don [track 2], and The Horse You Came In On [track 9].

My SmoothLee Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 6, Low Rider. What a nice track!

Poe House Release Notes:

Bona Fide originally released Poe House on Nov 20, 2001 on the N-Coded Music label.

CD Track List Follows:

1. Club Charles

2. Willie Don

3. The Poe House

4. El Dorado

5. It's Love

6. Low Rider

7. Blaze

8. The Horse You Came In On

9. The Block

10. Never More

11. Schmoke

12. Tito Pepe

13. Goose

Personnel includes: Alta Greene, Julie Mays-Sudduth (vocals); Kevin Levi (soprano & alto saxophones).

How to Tune a Ukulele Tip

Ukulele Tuning Tips: Keep Yourself in Tune

For beginner ukulele players, getting the ukulele in tune can be a chore. However, it is absolutely necessary. It's not something optional that you can just skip. No matter how good you get, if your ukulele is out of tune, you'll sound terrible and people will run from the room screaming.

Why is it Difficult to Tune a Ukulele?

The ukulele tends to be more difficult to tune than larger instruments such as the guitar or bass. The short scale length means that you have to be very careful when tuning or you will overshoot.

It is also more difficult as many ukuleles have friction tuners. Guitars are fitted with geared tuners which tend to keep the tuning better and mean that tuning can be more accurate.

Top Tuning Tip: Buy a Digital Tuner

Digital tuners have made life so much easier for ukulele players. They are now small, cheap and accurate which makes them a vital addition to any ukulele player's gig bag.

There are many different types of tuner. There are chromatic tuners (which allow you to choose any note to tune to) and dedicated ukulele tuners (which will only allow to tune to the notes of the ukulele). There are tuners which work via a microphone and those that work by picking up on vibrations in the ukulele.

Which Ukulele Tuner Should I Buy?

That depends on your style of ukulele playing. Most ukulele players will not stay beyond the standard ukulele tuning (GCEA), so a dedicated ukulele tuner is fine. But if you want to experiment with other tunings (such as slack-key tuning or D-tuning), then a chromatic tuner becomes necessary.

If you are only planning on playing at home for fun, then a microphone tuner is will suit you. But if you are planning to play gigs, a clip on tuner will be much more suitable. A clip on tuner works by sensing the vibrations of the ukulele, so the sounds around you won't affect how the tuner works.

Some well respected makes of ukulele tuner are Kala and Intelli.

Monday, July 26, 2010

Josefina Sanner - Love Case Scenario

Josefina Sanner - Love Case Scenario, the latest release by the Swedish pop singer and songwriter, is a compilation of short stories told through her creative arrangements, communicative lyrics, and captivating voice.

Love Case Scenario: Row Your Boat; About to Leave; Beautiful Day; Hallelujah; Feel It; Eternally Yours; All Words From You; Heartstop; La La Love Must Be; Stealing The Sky; Fragments

Personnel: Josephina Sanner: Vocals, Backing Vocals, Cello, Organ, Soprano Tubular Bells, Celeste, Svampinjonium, Acoustic Guitar; Andreas Dahbäck: Drums, Church Organ, Synthesizer, Tambourine, Bells, Programming, Shaker, Piano, Cabazza, Woodblock, Backing Vocals, Wurlitzer, Congas; Patrik Hjerling: Bass, Double Bass; Calle Ekerstam: Electric Guitar, Electric Baritone Guitar; Marcus Ohlsson: Bass Clarinet, Transverse Flute, Pizzicato Piano, Tenor and Alto Saxophone, Acoustic Piano; Andreas Ekstedt: Vibraphone, Glockenspiel, Croatales, Marimba; Julia Falthih: Bass; Simon Yuergren: Box on Floor; Jonas Öijvall: Piano, Accordion, Electric Piano; Paul Börjesson: Bass

Josefina Sanner - Love Case Scenario was produced by Andreas Dahbäck and released on the Finaville Music label. Josefina Sanner is a prolific songwriter who has penned more than 700 songs, and on Love Case Scenario, she recorded her best music to date. I fist met Josefina Sanner in the summer of 2004 while traveling through Stockholm, she was performing at an outdoor concert, and I was fascinated by her voice. I have watched her career blossom (Read a review of her previous self-title release Josefina Sanner in the Music Scene section), and Love Case Scenario perfectly illustrates why I was fascinated by her voice. Her maturity as an artist [singer, songwriter, and performer] has been such a pleasure to watch; it also creates anticipation for future material, but for now, we have Love Case Scenario to enjoy.

The songs on Love Case Scenario were stirred by an emotionally painful breakup; so, she looked to happier times and drew influences from her childhood and from her other artistic outlet as a painter. As Josefina puts it, "to transform my experiences into songs - I've turned my worst case scenario to a love case scenario." Each track is a short story covering a different chapter in Josefina's life, and with her unique ability to bond her voice with her expressive lyrics, you are in for a real treat.

The release leads with the track Row Your Boat and she starts her mending from her breakup through her lyrics and enticing vocals as she sings "Now this life has fallen like November leaves; Cold, I'm left out stalling, naked as a tree," and blends this with a happy memory from her childhood days with "Row, Row, Row Your Boat, gently down the stream, life is but a dream; Bye, bye baby, goodbye and maybe we'll meet on the other side." She shows that her extraordinary talent as a songwriter is accented by her captivating voice. The second track About To Leave uses the distinct sounds of the celeste to create a heavenly state that is complemented by a church organ and tubular bells. This dreamlike state is an expressive pairing with Josefina's vocals and her charged lyrics "I remember how once you were eager to love, now I bend and I break what an awful mistake."

The track Beautiful Day longs for the second chance that what has been happening can be changed, and things will go back as before, but in the end life moves on. She captures all of the feelings, hopes, the twists and turns that we go through before we realize that we must move on; her voice will ring in your ear like your conscious telling you that the time has come "it's not too late, so don't lose faith." Changing pace is the track Hallelujah where Josefina's mesmerizing voice is at its best as she rolls in a spiritual sound asking the question "Please tell me why?"

Josefina, like many Swedes, is tied to nature and this comes through in her lyrics that reflect time and life changing experiences through the seasons. On the track Eternally Yours she sings of "We had summer for a year, a winter's day took it; We had love that couldn't fail, but spring came and blew it away."

Other extraordinary tracks include Feel It, a whimsical track where she uses specific instruments like the pizzicato piano in a creative arrangement to cast the tone and meaning of the song; All Words From You strips away many of the instruments and leans on the raw sound of Josefina's vocals and her acoustic guitar accompanied by bass clarinet and the sound of the vibraphone; Heartstop, a track that uses the slight pounding on the drums as the sound of a person's heartbeat and the timely transitions of the haunting tenor saxophone to create a magical sound set against lyrics about reclaiming your inner self; La La Love Must Be is a light hearted track that tosses around all of the bits and pieces of a relationship like lost connections that never really come together.

The release closes out with the tracks Stealing the Sky and Fragments that draws closure to this emotionally charged release where the stories are intertwined with the ebb and flow of Josefina's inspiring vocals and inventive arrangements.

Websites where you can procure Josefina Sanner - Love Case Scenario are Josefina Sanner, CD Baby, iTunes, and CDON.Com.

Ukulele Buying Tips - What's Suitable For a Beginner

For the first time ukulele buyer, the options available can be overwhelming. Ukuleles come in a number of different sizes and tunings and can vary wildly in price. It can be difficult to work out exactly what the beginner ukulele player should look for when buying a ukulele. This article will give you a few tips on what to look out for and how to make your choice.

How Much Does A Beginner Ukulele Cost?

There are some very cheap ukuleles available (less than twenty dollars), these ukuleles aren't really suitable for someone who is serious about learning the ukulele. They're really only toys. If you do buy one of these, it's likely you'll experience problems in tuning the ukulele and intonation. If this happens, you'll probably get discouraged by how you sound and your lack of progress (even though the problem isn't yours).

Spending fifty to one hundred dollars will get you a much more playable ukulele. As well as sounding better, it will feel better to play. Having a nice ukulele will encourage you to play more often.

Which Size Ukulele Should I Buy?

There are four main sizes of ukulele. They are, in ascending order of size, soprano, concert, tenor and baritone. It can be difficult to tell which ukulele is most suitable for a beginner.

In general, I'd recommend that players start on a soprano ukulele. It is the traditional and most common size of ukulele. It is also the most suitable for playing chords (which is where most people begin).

Larger ukuleles, such as the tenor, are becoming increasingly popular for beginners (thanks to their use by professional players such as Jake Shimabukuro). However, they are more suited to advanced solo ukulele playing rather than beginner strumming.

What are the Best Makes of Ukulele?

Some of the most popular brands for beginner ukuleles are Lanikai (used by Zach Condon from Beirut), Oscar Schmidt (used by American Idol's Jason Castro) and Kala.

Sunday, July 25, 2010

The Keyboard Cinderella

If music be the food of love, play on; the oft-quoted words of William Shakespeare who might well have sprinkled his music with austerity. In the field of creativity the most talented often suffer financial hardship. How paradoxical that Jacqueline Heath, an artiste who has a beauty and talent most women crave for, should be economically compromised. Kent born, she is one of those ladies you usually discover in marble; the enduring image of classical feminine beauty. Her capacity to enchant does not stop there for she is also a pianoforte virtuoso. Wherever she plays she beguiles and delights her audience.

Extraordinary Talent

Jacqueline's prodigious talent first became apparent when, from the age of just seven years, she was charming audiences with her performances. With encores ringing in her ears and a talent begging to be cultivated her parents enrolled her at London's renowned Royal College of Music. This conservatoire-like experience was crowned first by the thorns of unrelenting rehearsal and eventually by success when she graduated with honours.

As in other great cities there is no shortage of musical ability in London where entertainment lures the world's cognoscenti of good taste. Jacqueline's world was her pearl-laden oyster; stardom surely beckoned this 'poetess of the keyboard.' She was soon spotted by Barrie Breton, a keyboard entertainer who had trodden the boards with performers used to seeing their name in lights. Had it been otherwise the elfin-sized prodigy might easily have been absorbed by classical ensemble.

The Song of the Keyboard

Conversely; a string of eclectic jazz watering holes were added to the young pianist's burgeoning curriculum vitae. The song of the keyboard was always in perfect harmony with the diminutive enchantress: Her repertoire extended from Chopin études to the jazz greats. Jacqueline's love affair with the piano never diminished. The siren-call was to come from Spain's Mediterranean coast; there being more nightingales there than in Berkeley Square. This is where I first set eyes and ears on the captivating maestra. Not surprisingly she became an inspiration to me; a wordsmith who had once been Britain's most popular contemporary poet. I relished the chance to profile her. Each time I heard her play I could see in my heart's eye a marble figurine in financial pieces scattered upon a gallery's mosaic flooring. Could such talent go unrecognised by the purse-string holders?

Seemingly the truly gifted are fated to perform for those who know the price of everything but the value of nothing. Johannes Brahms played Hamburg's quayside brothels, Andrea Bocelli in restaurants, whilst the world class soprano Anna Netrebko scraped by in St. Petersburg.

A Lesson in Music

Recently a man chose a Washington DC metro station to play his violin, for it was bitterly cold outside. For 45-minutes he played Bach pieces, during which time thousands passed him without pausing or giving a glance in his direction. By the time he returned his violin to its case he had collected just $32. That musician was Joshua Bell; one of the world's great violinists. The violin, which he played that day, is worth $3.5 million. Two nights' previous, patrons had clamoured for $100 tickets to hear him play. The station occasion was a social experiment conducted by the Washington Post to gauge public perception.

Between my pen-board and Jacqueline's keyboard she was soon to dominate the newspaper profiles of the region's most loved performers, but it was hardly the recognition she so richly deserves. Perhaps the melodic notes of her Orihuela Moonlight and Paseo Maritimo will attract the banknotes of those who still walk by? There are few things in life more poignant than to see an artiste who has thrilled theatre audiences, playing for her supper: Mozart must be spinning in his paupers' grave, if we can locate it. ©

Saturday, July 24, 2010

Jeff Lorber Fusion - Now is the Time

Jeff Lorber Fusion - Now is the Time is a look at the roots of jazz fusion, circa late 1970's to early 1980's, but with the opportunity to infuse 20+ years of musical influences into a release and style that is as much now as it was then. Jeff's arrangements, with the assistance of noted musicians such as Jimmy Haslip, The Blood Sweat & Tears Horns, Randy Becker, Eric Marienthal, Paul Jackson Jr., and Vinnie Colaiuta, are like a fine wine, the balance is perfect.

Now is the Time: Rain Dance / Wanna Fly; Dr. Moy; Pixel; Sugar Free; Mysterious Traveler; Curtains / Before We Go; Black Ice; Las Rosas; Chinese Medicinal Herbs; Water Sign; Sumatra

Personnel: Jeff Lorber: Keyboards, Guitar, Synth Bass; Irene B: Lead Vocals, Background Vocals; Frankie Biggz: Background Vocals; Paul Jackson Jr.: Guitar; Randy Becker: Flugelhorn; Jimmy Haslip: Bass, Percussion; Vinnie Colaiuta: Drums; Jimmy Branly: Percussion; The Blood Sweat & Tears Horn; Tony Maiden: Guitar; Eric Marienthal: Alto, Tenor, and Soprano Saxophone; Alex Al: Bass; Li'l John Roberts: Drums; Lenny Castro: Percussion; David Mann: Horn Section, Arrangement; Michael Thompson: Guitar; Larry Koonse: Guitar; Tom Timko: Flute; Steve Jankowski: Flugelhorn; Dave Weckl: Drums;

Jeff Lorber Fusion - Now is the Time was produced by Jeff Lorber, Jimmy Haslip, and Bobby Colomby and released on the Heads Up International label a division of Concord Music Group. For Jeff Lorber, now is not only the time but it is the perfect time to refresh the jazz fusion style, a ground breaking sound that he was instrumental in making famous, which he started in the late 1970's to the early 1980's, and continues to today with the release of Jeff Lorber Fusion - Now is the Time. Jeff dips into his vast repertoire of music and selects gems from the jazz fusion movement along with some originals.

The release opens with Rain Dance / Wanna Fly (1979) a funkier and bolder arrangement from the original that is spiced up by the vocals of Irene B. and the brass sound from The Blood Sweat & Tears Horns. The track Dr. Moy reflects the influences on Jeff over the past 2+ decades, but the classic jazz fusion sound is still at the center of this track along with a funky and sassy side to the arrangement. The track Pixel is a collaboration by Jeff Lorber, Jimmy Haslip, and Bobby Colomby and carries a improvisational jazz swagger along with the distinct Jimmy Haslip bass line coupled with the drums that creates the foundation for the keyboards and The Blood Sweat & Tears Horns.

The track Sugar Free is a collaboration by Jeff Lorber, Irene B. and Frankie Biggz with the band framing Irene B's vocals in tight and cascading fashion as Irene does all the lead and backing vocals. The track Mysterious Traveler (Weather Report 1974) was one of Lorber's favorite tracks, but he knew that he had to outdo himself to compete with the original Weather Report version, and he accomplished his intention. Lorber's funkier, jazzier, and direct arrangement brings out segments of the music in a live jam fashion.

Curtains / Before We Go, a collaboration by Jeff, Irene, and Frankie Biggz, features the sensual vocals of Irene B. and playful saxophone and keyboard solos. Black Ice (1978) is a refreshed arrangement that focuses on the bass and drums to create the ambiance and introduce solos by the alto saxophone, guitar, and keyboards before bringing it all together for a powerful finish.

Chinese Medicinal Herbs (1977) is an expressive track that captures the essence of jazz fusion with an offbeat 7/4 signature and an arrangement that blends the band into a balanced harmonious sound.

Other tracks include Las Rosas, a beautiful instrumental arrangement that centers on Jeff Lorber's velvety keyboard work and Eric Morienthal's engaging soprano saxophone; Water Sign, with swing undertones against Irene B's lively vocals and an energetic jazz melody; and Sumatra featuring the enduring sound of The Blood Sweat & Tears Horns.

Jeff's look back at jazz fusion is a look at the present, and to the future, that shows how time continues to open new channels and styles evolving the sound to new levels, as only jazz can.

Websites where you can procure Jeff Lorber Fusion - Now is the Time are Concord Music Group, Amazon, iTunes, and Tower Records.

Learning How to Play the Piano

Learning how to play the piano could be your good start in the world of music. Learning to play the piano is much easier than learning to play the guitar. Don't let all of those black and white keys scare you. You will be learning the name of each black and white key and the note that each on of those keys represents. learning to play the piano may seem overwhelming at first, but you will be learning a craft that will be of great benefit to you and your family for years to come. Your grands will tell their kids how you played the piano.

Learning how to play the piano could be lots of fun when you begin to learn the basics of the piano. The first thing you need to know is that music system uses the first seven letters of the alphabet. The letters are A, B, C, D, E, F, and G. These letters (or notes) repeats itself along the piano board.

Finding the notes on your piano

The first thing you will notice on your piano is a lot of black and white keys. Don"t let of those keys intimidate you. You will notice that the black keys are raised above the white keys. The black keys are set in groups of two black keys and three black keys.

The black keys have a different sound from the white keys. They represent half tones either up or down on the piano. The black keys are named after the white keys. When you go from left to right on the piano the black keys are call Sharp (#). When you go from right to left they are called Flat (b).

The black keys have two names.

*The first key in the group of two keys is called C sharp (C#) or B flat (Bb)

*The second key in the group of two keys is called D sharp (D#) or E flat (Eb)

*The first key in the group three keys is called F sharp (F#) or G flat (Gb)

*The second or middle key in the group of three keys is called G sharp (G#) or A flat (Ab)

Learning how to play the piano

We will now go to the white keys.

We will now go to the white keys.

*C- is located at the bottom left of the group of two black keys

*D- is located next to C

*E is located next to D

Learning how to play the piano

This pattern goes on until you get to the note of G. At this point you will start over with the note of A. Music only uses the first seven letters of the alphabet.

You can play your first chord (C) by holding down the notes of C-E-G.

Don't compare yourself to other players. Each one of us learn at his or her on pace. Just remember to have fun. There is nothing like learning how to play the piano.

Friday, July 23, 2010

Rolando Villazon

I remember the first day I heard a voice that really made me stop and listen. The lower registers and dark qualities along with the smooth transition up to the head register made for a wonderful and memorable experience indeed.

The great tenors ability to use expressiveness at will is another rare quality, considering it is flawless and there is nothing forced about it. But as I understand there was a period of concern, when he had an operation on his throat. Thank goodness the voice came through it unscathed.

Rolando Villazon really made the hairs on my neck stand up, as I watched and listened to him singing "Una Furtiva Lagrima" from L,Elisir D,amore by Gaetano Donizetti. His acting ability and general stage presence really adds to his performances.

Born in Mexico, Rolando is now a french citizen, he is also very much in demand around the major opera houses and other venues throughout the world. Mr Villazon was also prominent in the smash hit TV show, "Pop Star to Opera Star".

Another delight awaited me, as i watched and listened to Rolando along with an excellent soprano Anna Netrebko. They were performing in a film version of "La Boheme", the main arias were performed with passion and a wonderful vocal display was had by all. Not a dry eye in the house.

In conclusion and possibly stirring up a hornets nest, i have to make reference to another tenor Mario Lanza. I have always been a massive lanza fan, no one could come near to his powerful vocal display and emotional performance. That is until Rolando Villazon came onto the scene.

I still Love Lanza, but I truly believe Mr Villazon really outclasses Mario with his vocal abilities, and I do not say that lightly. Why not have a listen and make up your own mind. Whatever the outcome, your musical ear will have a feast of wonderful experiences.

Review of the John Mclaughlin CD Industrial Zen

I can describe the latest release from Jazz sensation John Mclaughlin for you with just one word... Outstanding!

It's a rare day indeed that I get a CD from an artist that I can truthfully say does not have a bad track in the bunch. I'm more than happy to announce that's exactly what I must say about this one. There simply is NOT a bad one in the bunch. No fillers here at all, with each song standing tall on it's own.

Industrial Zen has a pleasantly varied, mix of 8 tracks that are very well written songs by this clearly superb artist. With many of the songs displaying a lot of the kind emotion that makes for a really great listen. Clearly drawing from what I can only imagine are him own personal experiences. At different points touching on the most real emotions like love, and the pain of failed relationships can certainly be heard.

If you're a John Mclaughlin fan, or just a fan of Jazz music this is a CD your collection simply should not be without.

While this entire CD is outstanding some of my favorites are track 2 - New Blues Old Bruise, track 5 - To Bop Or Not To Be, and track 8 - Mother Nature

My Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 1 - For Jaco. It's a great track!

Industrial Zen Release Notes:

John Mclaughlin originally released Industrial Zen on August 1, 2006 on the Verve label.

CD Track List Follows:

1. For Jaco

2. New Blues Old Bruise

3. Wayne's Way

4. Just So Only More So

5. To Bop Or Not To Be (For Michael Brecker)

6. Dear Dalai Lama

7. Senor C.S.

8. Mother Nature

Personnel: John McLaughlin (vocals, guitar, fretless guitar, programming, drum programming); Shankar Mahadevan (vocals); Eric Johnson (guitar); Ada Rovatti, Bill Evans (soprano saxophone, tenor saxophone); Gary Husband (keyboards, drums); Otmaro Ruiz (synthesizer); Hadrien Faraud, Tony Gray, Matthew Garrison (bass guitar); Mark Mondasir, Dennis Chambers, Vinnie Colaiuta (drums); Zakir Hussain (tabla); Marcus Wippersberg (drum programming). Recording information: Metropolis Studios, London, England.

Thursday, July 22, 2010

Craig Chaquico "Four Corners" Smooth Jazz Music CD Review

I can describe the latest release from Smooth Jazz sensation Craig Chaquico for you with just one word... Outstanding!

Four Corners launches with an outstanding track, The Drifter, that I anticipate will be heard on radio stations everywhere, and deservedly so. It's a really nice track.

One of the nicer things about a CD like this is with this level of talent even if Smooth Jazz isn't your favorite genre you still can't help but appreciate the greatness of the artist.

Overall Four Corners is excellent from beginning to end. One of those CDs that after a few listens the songs are just etched into your memory. A must have for the Smooth Jazz fan. Really sensational from beginning to end.

While the entire album is outstanding some of my favorites are track 2, Forbidden Love, track 4, Red Rocks, and track 7, A Mothers Heart.

My SmoothLee Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 6, Somebody To Love. Good stuff!

Four Corners Release Notes:

Craig Chaquico originally released Four Corners on Jun 29, 1999 on the Higher Octave record label.

CD Track List Follows:

1. The Drifter

2. Forbidden Love

3. Turquoise Moon

4. Red Rocks

5. Arizona Daybreak

6. Somebody To Love - (featuring 3rd Force)

7. A Mothers Heart

8. Haight Ashbury

9. Samba Del Rio

10. Borders

11. Four Corners

Personnel includes: Craig Chaquico (guitar); Richard Hardy (soprano saxophone); Everett Harp (saxophone); Alain Eskinasi, Craig Dobbin (keyboards); Derek Jones (bass); Wade Olson (drums). Producers include: Paul Brown, Russ Freeman, William Aura, Ozzie Ahlers, Craig Chaquico. Engineers include: Craig Chaquico, Ozzie Ahlers, William Aura. Recorded at Brauntosoarus, Woodland Hills, California; Cheyenne Mountain Ranch, Woodland Park, Colorado; Auravision, Ojai, California; Funky Joint Studios, Sherman Oaks, California. Live Recording.

Tips on How to Sing Harmony

So you and your friends are hanging out with the radio at full blast. Everyone is singing along to the group's favorite music, but sadly, as their voices blend in to the tune, yours gets out of sync. People who sing out of harmony can't help but feel self conscious. It's OK if you only sing in the shower, but just in case these situations come up, you better learn how to sing harmony.

You can learn how to sing better by singing along with a song in your CD player. Also, you could use the same technique if you want to learn how to sing harmony. However, if you have a piano and know how to play it, then that would be better than a CD. If you know how to sing high notes, then you can pick a soprano type song, but for the sake of practicing, I suggest that you go for songs with medium notes.

Now, you're going to have to play your song more than once while paying particular attention to the notes and melody used. With a piano, you can tap each note to get a clearer idea of the melody. An online keyboard is also available if you don't have a piano to use. If you want to write down the notes, you can do that too.

Now, it's time to start singing! Although "harmony" in music refers to two different notes being sung at the same time, that doesn't mean that you have to do this automatically. If you want to learn how to sing harmony, then you must first try to sound almost exactly like the singer. It's important to first understand the baseline before you can move either up or down.

You might be doing this for quite some time so don't be impatient. When you're satisfied that you've gotten as close as you possibly can, then it's time to learn more about harmony. Pick a few notes that you would like to practice on. Now, slide them down three, five or six notes from the original melody. You can use the piano or keyboard for this task. Start slowly by just choosing a few lines from the whole song to practice on.

Keep in mind that practice is the key if you want to learn how to sing better. Also, make sure to warm up prior to practicing your harmony. Even if you are just starting out, it is important to exercise your chords a little to get the voice that you want. You can try checking out different voice exercises on the web to ensure that you won't be straining your throat from singing. Try recording yourself while singing along with the original song so that you can pinpoint possible problems. Just play the CD at a lower volume and start singing along. This way, you will be able to check out how well your training is affecting your harmony performance.

Wednesday, July 21, 2010

Beethoven - The Music Genius of All Time

"Beethoven enlarged the limits of the classical style beyond all previous conceptions, but he never changed its essential structure or abandoned it, as did the composers who followed him. In the other fundamental aspects of his musical language, as well as in the key relations within a single movement, Beethoven may be said to have remained within the classical framework, even while using it in startlingly radical and original ways" said Charles Rosen in his classical survey 'The Classical Style.'

Keeping in mind this quote, it gives us a clear view of the overall genius of Beethoven who created eternal tunes and immortal symphonies, which in today's world are considered as masterpieces. To understand the bona fide class of this maestro, it is important to look at his background as to how he became the archetypal of the classical and romantic era.

Brief History

Ludwig Van Beethoven, of German Origin, was born on December 17, 1770 in the home of Johann who was proficient teacher of violin, piano and voice. Teaching music was his bread and butter as he was a chapel master (Kapellmeister). Since his early age, Beethoven used to sing soprano in the very same electoral chapel where his father was the chapel master who taught Beethoven, violin and piano. Since 8 years of age, he studied with quite a lot of local organists, even received piano lessons from Tobias Friedrich Pfeiffer, where violinist like Franz Rovantini present him violin and viola lessons. Even though as a born artist, Beethoven's musical brilliance was associated to that of Mozart's, he never exceeded the elementary level in school education. In his teens in 1787, he went to Vienna for unknown reasons, but some say that he even met Mozart and took lessons from him. In a two weeks time when he came back his world suddenly changed for him as his mother died and his father became a drunkard. Beethoven, at the age of 19, formally requested to be known as the head of the house and started receiving half of his father's salary to support his siblings.

Beethoven shifted to Vienna in 1792 where his father died in the very same year. His father died in December that same year. He studied with Haydn for a limited time as there was a personality clash. Beethoven then studied with the best known teacher in Vienna, Johann Georg Albrechtsberger. With him he learned contrapuntal and counterpoint exercises in free writing, in two to four-part fugues, in imitation, choral fugues, double fugue, double counterpoint at the various intervals, canon and triple counterpoint. With this learning process he kept on composing more and more where in 1800, the first symphony and a septet (op. 20) was performed by him. At the age of 20 he became deaf and the whole life of Beethoven completely transformed though he tried to hide his impairment form the world but could not succeed. Beethoven used a particular rod connected to the soundboard on a piano that he could gnaw -the vibrations would then move from the piano to his jaw to amplify his insight of the sound. By 1814 he became totally deaf. After 1815, no successors came upfront to carry the patronage, and Beethoven relied mainly on selling composition rights and a meagre pension.

A born Genius

Now here the question arises how a great composer like Beethoven wrote symphonies 2, 3 (Symphony 3, Eroica was titled as Bonaparte, which was a tribute to Napoleon Bonaparte) and 4 within 1800-1806, which were his early days of deafness? What one can say about his imaginative thoughts as they were God gifted and no human can develop that by himself. If he would have been intelligent enough, he could have studied well in his school days. But he was the chosen one born to create such a music, which is immortal. The talent was there within him it was just the brushing up of that talent was required that revolutionized the world of music.

Evident in the test of time, his symphonies were established to be master pieces in conjunction with his other works. Beethoven loved a woman named Fanny, but never married. He spoke of her in a letter saying, "I found only one whom I shall doubtless never possess." The romance in his sonatas is quite evident of his true love. Beethoven completed abundant music works throughout his life. Each and every piece is a representation of his brilliance having its own style and design with variation and modulation. Even though Beethoven's music varied from symphonies to sonatas, his area of expertise was piano concertos, string quartets piano sonatas and symphonies, which were his favourites as well. Beethoven's compositional career is usually divided into Early (upto 1802), Middle (1803-1814) and Late (1815 onwards) periods. In his Some classic pieces from the Early period are the 1st and 2nd symphonies, the 1-6 string quartets, 1-3 piano concertos, and the first 20 piano sonatas, including the evergreen "Moonlight" sonata.

His Middle (laudable) period started along with his detection of encroaching deafness. It is renowned for broad base music that express struggle and heroism, Middle-period works include the fourth and fifth piano concertos, six symphonies (Nos. 3-8), violin concerto, the triple concerto, the next seven piano sonatas (this include Waldstein and Appassionata), five string quartets (Nos. 7-11) and Beethoven's only opera, Fidelio.

The last period is very much considered as the Romantic period. Music from this time is branded by his intellectual depth, formal innovations, and intense personal expression. For instance, the Ninth Symphony, Missa Solemnis and the "Hammerklavier" Sonata are the best known masterpieces of the last period. After his death in, every musician across the globe, is somewhat and at any time of his music career is inspired by Beethoven's music. The biggest example that can be quoted it the European committee which designed the European flag adopted Beethoven's 'Ode to Joy' from his 9th Symphony in 1972 which became the official anthem of the European Union in 1985. The composer has also been portrayed in a number of films, both theatrical and television releases. Since his death in 1827, the influence of Beethoven's music on subsequent generations of composers is profound and will carry on centuries ahead.

Ukulele - Hawaii's Most Famous Musical Instrument

Ukelele ( spelled ukelele in the UK, abbreviated to uke; pronounced yoo-kuh-ley-lee [American English] or oo-koo-ley-ley [original Hawaiian]) is a small, guitar-like lute with four to ten strings. Developed in the 1880s, the ukulele is the Hawaiian interpretation of the Portuguese braguinha.

Hawaii's most famous musical instrument produces big tone and sweet sound. Ukuleles usually come in 4 sizes: Soprano (or what Hawaiians refer to as Standard size), Concert, Tenor , and Baritone. The Solid Body Cutaway is a more recent innovation.

Ukuleles are typically made of wood, although there are some models made of plastic or a composite of plastic and wood. Expensive models are made from hardwood (e.g.mahogany, kulawood, spruce, and sequoia), the most expensive of which are made from koa tree. 

A typical ukulele has a figure 8 shape like that of a small acoustic guitar. There are also other interesting shape variations such as oval (called pineapple ukulele), boat paddle, and square (usually made from an old wooden cigar box).   

History

Ukulele was brought to the Hawaiians by Portuguese immigrants. To celebrate their arrival on August 23, 1879, Joao Fernandes played Portuguese folk songs on the wharf using a braguinha borrowed from a friend. Hawaiians who witnessed him on the dock where so impressed not only with his music, but also with the speed of his fingers: it seemed like they danced across the fingerboard. Hence, they called the instrument "ukulele," meaning "jumping flea."    

(Queen Lili'uokalani, the last monarch of Hawaii, gave a different version to the origins of "ukulele". She thought ukulele meant "the gift that came here," from uku meaning "the gift" and lele meaning "to come.")

There were 419 immigrants aboard the ship Ravenscrag, but three people would be the first to establish ukulele shops. They were Manuel Nunes, Augustine Dias, and Joao Fernandes.

Within 10 years after the arrival of the Portuguese, the ukulele became Hawaii's most popular instrument. It is said that Joao Fernandes was a key behind this, as he spent a lot of time playing around Honolulu with his instrument.

Ukelele: A royal endorsement

It was also from Fernandes that King Kalakaua first heard

the music from the ukulele, but he learned to play it from Augusto Diaz. He encouraged that it was played during royal gatherings. A patron of arts,  King Kalakaua's enthusiasm over ukulele made it more acceptable to people of Hawaii. It was played by Hawaiian from all walks of life--- from taro farmers to fishermen to royalties. Other royalties who learned how to play included Queen Emma, Queen Lili'uokalani, Prince Leleihoku, and Princess Likelike.

In 1915, ukulele's popularity moved to the mainland beginning in San Francisco during the Panama Pacific International Exposition. As a result, ukulele sales increased. In addition to its sweet sound,

From US the mainland, ukulele moved to the UK and to the rest of the world. The ukulele even became an icon of the Jazz Age.

Tuesday, July 20, 2010

Rippingtons "Black Diamond" Smooth Jazz Music CD Review

I can describe the latest release from Smooth Jazz sensation Rippingtons for you with just one word... Outstanding!

It's a rare day indeed that I get a CD from an artist that I can truthfully say does not have a bad track in the bunch. I'm more than happy to announce that's exactly what I must say about this one. There simply is NOT a bad one in the bunch. No fillers here at all, with each song standing tall on it's own.

Black Diamond has a nicely varied, mix of 11 tracks that are very well written songs by this clearly outstanding artist.

One of the really nice things about a CD like this is with this level of talent even if Smooth Jazz isn't your favorite genre you still can't help but appreciate the greatness of the artists.

Overall Black Diamond is an outstanding release. Quite possibly the Rippingtons best to date. Really sensational from beginning to end. If you're even mildly into Smooth Jazz music you'll enjoy this CD.

While this entire CD is outstanding some of my favorites are track 2, Deep Powder, track 3 Seven Nights In Rome, track 7, If I Owned The World

My SmoothLee Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 4, Soul Seeker. Great track!

Black Diamond Release Notes:

Rippingtons originally released Black Diamond on September 16, 1997 on the Windham Hill Jazz record label.

CD Track List Follows:

1. Black Diamond

2. Deep Powder

3. Seven Nights In Rome

4. Soul Seeker

5. In Another Life

6. Big Sky

7. If I Owned The World

8. North Peak

9. Angel Fire

10. Jewel Thieves

11. Black Diamond - (acoustic version)

Personnel: Russ Freeman (acoustic, electric, classical, slide, baritone & 12-string guitars, mandolin, keyboards, bass, percussion, loops, drum programming); Mark Williamson (vocals, acoustic guitar, percussion); Jeff Kashiwa (soprano & tenor saxophones, EWI); Nelson Rangell (alto & tenor saxophones, flute); Arturo Sandoval, Mark Ledford (trumpet); David Kochanski (piano, organ, keyboards, drum programming); Brian Moore (guitar, 12-string guitar); Kim Stone (bass, fretless bass); Steve Reid, Pete Escovedo (percussion).

Dave Matthews Band Under The Table and Dreaming Rock Music CD Review

Not sure what's happening with me on this one, but it seems like the more I listen to it, the better Under The Table and Dreaming gets. Under The Table and Dreaming stated simply is one of their best CDs to date.

Under The Table and Dreaming opens with an outstanding track, The Best Of What's Around, that I suspect will be heard on radio stations everywhere, and deservedly so. It really is a very nice track.

Under The Table and Dreaming is a pleasantly varied, mix of 12 tracks that are very well written and brilliantly performed songs by these clearly talented musicians. With many of the songs displaying a lot of the kind emotion that makes for a really great listen. Clearly drawing from what I can only imagine are their own real life experiences. At different points touching on the most real emotions of love, and the pain of failed relationships can certainly be heard.

Overall Under The Table and Dreaming is excellent from beginning to end. One of those CDs that after a few listens the songs are just etched into your memory. A must have for the Rock fan. Really sensational from beginning to end.

While this entire album is outstanding the truly standout tunes are track 2 - What Would You Say, track 5 - Typical Situation, and track 11 - Pay For What You Get.

My Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 1 - The Best Of What's Around. Good stuff!

Under The Table and Dreaming Release Notes:

Dave Matthews Band originally released Under The Table and Dreaming on September 27, 1994 on the RCA Records label.

CD Track List Follows:

1. Best Of What's Around, The 2. What Would You Say - (with Michael McDonald) 3. Satellite 4. Rhyme & Reason 5. Typical Situation 6. Dancing Nancies - (with Michael McDonald) 7. Ants Marching 8. Lover Lay Down 9. Jimi Thing 10. Warehouse 11. Pay For What You Get 12. #34

Dave Matthews Band: David Matthews (vocals, acoustic guitar); Boyd Tinsley (vocals, violin); Leroi Moore (vocals, flute, soprano, alto, & tenor saxophones); Carter Beauford (vocals, drums, percussion); Stefan Lessard (bass).

Additional personnel: John Alagia, Andrew Page, Jeff Thomas, Michael McDonald (vocals); Tim Reynolds (acoustic guitar); John Popper (harmonica); Steve Forman (percussion).

Recorded at Bearsville Studios, Bearsville, New York.

Monday, July 19, 2010

Ukulele Chords - Learn To Play Easy Chord Changes

It is very fun and mostly easy to play ukulele chords. Let's take a look at some easy chord changes!

Before we delve to deeply into our ukulele chords let's take a look at the tuning of your ukulele. The resulting names of the chords we play depends on how we tune the ukulele.

In this ukulele lesson I assume that you play a soprano ukulele and that you have tuned it in C.

What does C-tuning mean?

Let's take a look at the piano keyboard to find out how to tune the ukulele.

C-tuning means that the third string on you ukulele is tuned to a C. If you use a piano when you tune your ukulele you will find these notes in the octave in the middle of the keyboard.

The notes in this most commonly used octave on the piano are called C4-B4. The number 4 indicate that the notes are on the fourth octave on an ordinary piano.

The first string on your ukulele will be tuned to an A4 as we call it. The next string will sound like the piano key E4. The third string will be the note C4. The fourth string will be the note G4.

Our first chord is C major. Let's take a look at it:

C: 0/4 0/3 0/2 3/1

What type of notation is this?

This is a type of ukulele tab notation where we use numbers to indicate which fret to press down and on which string.

3/1 for example means: Press down fret 3 on string 1.

We will now proceed with the chord G major:

G: 0/4 2/3 3/2 2/1

As you can see this chord is the same chord as a D major on a guitar. A little bit confusing if you also play guitar but I guess you will get used to it.

The chord F major looks like this on your ukulele:

F: 2/4 0/3 1/2 0/1

Now we have three chords at our disposal and we can create our first ukulele chord progression:

C / / / G / / / F / / / G / / /

What does the slashes mean?

The most basic way to interpret this notation is:

Strum once on a chord name. Continue strumming on the same chord once for every slash!

Let's add one more chord to make this progression a little bit more interesting. Here is G7:

G7: 0/4 2/3 1/2 2/1

Here is the progression:

C / / / G7 / / / F / / / G7 / / /

Before we end this ukulele lesson we will add just one more chord. Here is D minor:

Dm: 2/4 2/3 1/2 0/1

Here is the ukulele chord progression:

C / / / G7 / / / Dm / / / G7 / / /

To really learn to play chords on your ukulele it is important to play them together. The most difficult part is to change from one chord to another smoothly without slowing down the tempo.

Try practising playing two chords at a time. The actual training consists of changing between the chords.

This is a great way to rapidly learn to play the chords of any ukulele song!

Extend Your Vocal Range, Sing Higher With 7 Singing Tips

In order to extend and improve your vocal range, there are a few points to remember. Follow these 7 easy tips and you will be well on your way to a better singing voice with a larger vocal range.

For the purpose of this article, we will assume you have a good grasp on basic singing techniques and a solid foundation. To extend your vocal abilities it is necessary to understand the basics, as this is an area of advanced study. If you do not understand how the voice works, you can easily harm your voice if you try to push it too far. Have you ever screamed all day at a sporting event and you can hardly talk the next day? You just hurt your voice by overuse and you can do the same thing with advanced singing.

1. Identify your range. The first thing you must know if you want to broaden your vocal range is what exactly is your range now? Your range is what you are comfortable singing most of the time without straining. You can more easily define it by starting at middle C on the piano and going down by half steps until you can no longer easily produce a clear tone. The ranges are defined as soprano, alto, tenor and bass. The same is true for your high range; go slowly up the scale or a half step at a time until you reach where you feel a little uncomfortable and stop there, this is the range you will begin to improve upon.

2. Set reasonable and attainable goals. If you know where you are in your voice, you can better know where it is you want to be in the future. It would be reasonable to say that you would like to be able to sing one to one and a half steps higher with ease over the next few months consistently and this would be possible. To say that you want to be able to increase your range by one octave in the next few months may be possible, but unlikely and possible risky to your vocal chords if you injure them.

3. Slowly condition your voice. Keep in mind that being able to sing higher is not something that will come overnight, but with continued practice and effort. The conditioning of your voice is much like athletes muscles; it will build over time and increase in flexibility and power. Can you imagine a high performance runner for example just running full tilt without warming up his muscles or without training for many months to get where he is today? It does not happen in any athletic endeavor and singing at this level is more athletic than many people know. Singers are not exceptions to the rule.

4. Warm up. This is the best advice anyone can get with regard to not injuring yourself in singing. You will not see any professional singer not warming up before a lesson or a performance because they realize the benefits and the drawbacks if they do not warm up. Only if you warm up can you begin to slowly work up to the higher notes you are trying to reach. This of course also applies to the lower register if you are working on lower notes, although it is much less strenuous to work on lower notes, it is more a matter of breathing and relaxing.

5. Work with a teacher or program. A teacher will be able to help you find the best way to strengthen and improve your voice as well as protecting it from over use. There are Also many online programs which are equivalent to a good college course with excellent audio files that are perfectly acceptable.

6. Stand in front of a mirror. As you begin to work on expanding your vocal range, it becomes even more important to observe yourself as you sing. You need to watch your posture, the position of your jaw and chest. The only thing that should move as you go for that high note is the little vocal chord within your body, not your neck and shoulders. If you reach up with your neck and jaw, you are actually constraining your vocal chord and making it more difficult to reach the note.

7. Record yourself. Nothing is more brutally honest than a recording of your voice. This is where you really see if what you think you heard is what you sang. If you take a lesson from a teacher it is a wonderful way to not only evaluate your performance afterward, but to listen to again and again and pick up small things the teacher said that you missed or forgot. Get your moneys worth from the lesson, they are expensive.

Extending your vocal range is a skill that every singer aspires to and there is a way to achieve this ability. Practice and effort, time and experience will help you to achieve your goals of becoming an accomplished singer.

Sunday, July 18, 2010

Cultured Tangos

It may be that in musical retrospect, from a luxury of twenty-twenty critical hindsight, that Astor Piazzolla will be seen as having done in the twentieth century for the tango what Frederick Chopin did in the nineteenth for the waltz. It is perhaps already an accepted position. With the waltz, Chopin took an established popular form and stretched its boundaries so that what an audience might have expected to be a little ditty was recast to express heroism, sensuality, pride or even occasional doubt. The little dance tune then, in Chopin's slender hands, became an elegant art form, highly expressive, utterly Romantic in its ability to convey human emotion.

The tango represents an apparently different proposition. Already sensuous by definition, there are elements of the romantic towards which the tango need not aspire. If Romanticism placed individual emotional responses upon the pedestal of artistic expression, by the time the tango aspired to truly international currency in the twentieth century, there was no longer any need to worry about an artist's right to make a personal statement.

With the rise of serialism, neo-classicism and, later, minimalism, artistic mores were already, perhaps, heading in the opposite direction, towards a new espousal of rigour and structure. Emotion worn on the cuffs, like concepts plucked from the back of a matchbox, seemed to dominate cultural activities in the latter part of the century whilst, at the same time, Althusser and Derrida, allied with the populism of mass culture, seemed to suggest that there were no new statements, let alone discoveries, to be made. A spectral free-for-all ruled, where distinctions of quality were suddenly both particularistic and individual to the point of exclusion. (This, of course, is necessarily a paradox for people promoting a populist pop culture, since they aspire to mass consumption of a single artistic vision, a statement that by definition cannot be worth more than any other - even randomly selected statement. As a result, those who tend to deny a critic's right to make value judgments must themselves assume that such judgments are perfectly valid in the marketplace. It's a contradictory position, but an essential one for purveyors of pop, since they must continue to describe the form as popular, despite the fact that the vast majority of its products prove themselves to be anything but.) Post-modernists thus hailed the soap opera alongside Shakespeare, a logic that renders a Coca Cola advertisement the greatest film ever made by virtue of its viewer numbers. And then there was Piazzolla, an enigma par excellence.

On the one hand Astor Piazzolla is the quintessential mid-twentieth century composer. Classically trained, a pupil of Alberto Ginastera and Nadia Boulanger, and inspired by the commercial and folk music of his own country, he could have slotted alongside Villa Lobos, Ponce, or even Martinu or Copeland as a contributor to the century's neo-classical-folk music paradigm. But what he did was quite different.

He devoted his compositional energies to recreating and reinventing a popular idiom that was thoroughly specific to his own country, Argentina. The form, of course, was the tango. What is more, Astor Piazzolla concentrated on performance via his own ensembles and he achieved considerable success, albeit local until near the end of his life, over a career that spanned fifty years. But he expressed himself on the bandoneon, a squeezebox that lends itself to staccato, slapping attack, an instrument not peculiar to Argentina, but perhaps only well known to Argentinians. He died in 1992, his Romantic heroism national at best.

It was in the early 1990s that arrangements of Piazzolla's music began to appear on "classical" programmes. By the time a figure as august as Daniel Barenboim recorded his Tangos Among Friends, Mi Buenos Aires Querido, in 1995, they were already becoming established in the repertoire. I personally have heard performances of Piazzolla's music for full orchestra, string orchestra, chamber orchestra, various formats of chamber ensemble, piano trio, solo piano, solo harp, flute and guitar, guitar solo, violin and piano, string quartet, string trio and, of course, bandoneon. But it is surely the chamber group that best fits this music. There is always a toughness to its apparent sensuality that tends to be overstated by the large numbers of a full orchestra. Lack of volume, on the other hand, tends to stress the saccharine.

And if you want to find an exquisite match between the music's toughness and sensuality, its durability versus its novelty, there is surely no better experience than that provided by Camerata Virtuosi, a septet led by violinist Joaquin Palomares and featuring saxophonist Claude Delangle. Their recording of Piazzolla's music features Joaquin Palomares' superb arrangements that capture the music's directness and beauty while preserving its toughness.

A Camerata Virtuosi performance in the Auditori de la Mediterrània, La Nucia in February 2008 featured all the pieces included in their recording of Piazzolla's music. The group performed all four of the Seasons as a sextet with two violins, viola, cello, bass and piano. These pieces offer Joaquin Palomares a perfect vehicle to display his virtuoso violin playing which communicates the music's line whilst at the same time decorates with highly effective jazz-like riffs. The rest of the pieces were performed by a septet in which Claude Delangle's perfect soprano saxophone bent and teased its way through lambent legato lines. It was playing of the highest quality.

As on the recording, particularly successful were Oblivion and Milonga del Angel. Oblivion is the quintessential Piazzolla, a popular sing-along for the manic depressive perhaps, and not therefore a rarity. But the simplicity and understatement of the piece always works beautifully, even when played twice in the same concert, as in La Nucia. Milonga del Angel is a different kind of piece. Though superficially similar to Oblivion, it manages in its six minutes to develop through its binary form, so that different movements create different moods within the same material. A true highlight.

Joaquim Palomares' violin playing was, as always, more than elegant throughout and by the end the audience had experienced again the genius of Piazzolla courtesy of Palomares' superb arrangements. Great music needs great interpreters, and Piazzolla's has surely found one in Joaquin Palomares.

Ukulele Sizes Part 2 - The Concert Ukulele

Of all the sizes of ukulele, the concert ukulele is often the most overlooked. The terms for the other sizes of ukulele are familiar to other people: soprano, tenor and baritone. But concert is slightly different.

The two most common size of ukulele for people to play are tenor and soprano. Each of these offers players their own advantages and disadvantages. But the concert offers players the perfect compromise between these two.

Concert Ukulele: Definition

Like all the ukulele classifications, the concert ukulele is defined by its scale length (i.e. the playable length of its strings). It has a scale length of around fifteen inches. This places it exactly in the middle of the soprano ukulele (with a scale length of thirteen inches) and the tenor (with a scale length of seventeen inches).

What's Good About the Concert Size Uke?

The concert ukulele should bring you what most people love about the soprano and tenors all in one package. You get an extra bit of room for your fingers to maneuver; allowing you to play more complex single note parts (as with the tenor). And you also get the traditional ukulele sound of the soprano and it is as natural as the soprano when it comes to chord playing.

The adaptability is the major appeal of the concert ukulele for me. It allows me to switch between fingerstyle and strummed sections of a particular piece without losing anything in the move in terms of sound and playability.

If you have tried playing a soprano ukulele but found you need a little more space - as many people do - then the concert ukulele should be your next stop.

What are the Disadvantages of the Concert Ukulele?

There are some downsides to the concert ukulele. They tend not to be as available as tenors and certainly not sopranos. This means you are likely to have less choice when you buy than you might with the other sizes.

Another is the price. In the beginner price bracket, you won't find too many concert ukuleles.

Should I Get a Concert Ukulele?

Concert ukuleles are great for intermediate players who want to stretch out their ukulele playing and take on new challenges. Moving their playing into new areas and taking on lead parts but still retaining the traditional sound of the ukulele.

Saturday, July 17, 2010

Here Are the Seven Secrets on Why You Would Learn the Recorder

The recorder is a wind musical instrument made from wood or plastic and comes in a range of different sizes. Like any wind instrument, air is blown in one end and comes out holes and the other end. The vibration of air moving down the tube causes sound. Recorder players produce different pitched sounds by pressing finger pads on the holes in different configurations. Why would anyone want to learn this instrument? Here are the seven secrets.

1. The recorder is a simple instrument to play and hence is suitable for a wide range of people to learn, including young children. It is taught widely in primary schools as part of their music program. The most popular recorders to learn are the descant or soprano recorder, which is around 12.2 inches long and the longer tenor recorder. This is because they most closely resemble the human voice.

There are two main techniques to play this instrument. One is to seal the mouth over the mouthpiece about half way down and to blow gently.Sometimes players use their tongue by saying silently "tu" or "du" in order to get clear beginnings to notes. TThis is called articulation. The other is to place your finger pads flat on the holes such that no air leaks out. You can tell if your fingers are placed on the holes properly by pressing firmly on the hole and seeing a round hole mark on your finger or by blowing the desired note and getting it. The sound will be different if air escapes around a hole. Admittedly some young children getting fingers on the holes properly quite difficult. However on the whole, most people can master both techniques quite quickly and playing pieces.

2. The most popular recorders which people learn first eg the descant and then tenor are reasonably cheap to buy, and hence accessible for many people to purchase for fun in music making.

3. The most popular sizes are very portable especially the descant recorder. You can throw a recorder in any travelling bag and pull it out easily to play a tune. If you are a tramper or skier, a small descant recorder would be great to take to the top of a mountain and play to the world. What a wonderful feeling. Can you imagine a double bassist doing this?

4. The recorder is usually the first instrument people learn. As well as learning the technic of playing the instrument, you learn how to read music, with note names, note lengths and how to interpret music with markings including expression marks ofdynamics ( lounds and softs ), speed and more. There is a lot of theory in music which is often built into a tutor book. The benefit of learning the recorder is to concentrate on learning theory and musical terminology, because the technic of sound production is usually mastered quite quickly.

5. Learning the recorder as a first instrument benefits learning another instrument. Because you have learnt a certain amount of theory and musical terminology then you can spend your time concentrating on mastering the technique of playing your next instrument. And hence learning another instrument can be quicker than if you had learnt this other instrument as your first instrument.

6. There is a large range of recorder sizes available to play ranging from six inches to over two metres. You can join a recorder ensemble on any of these instruments and the range of notes covered is like the range of notes you hear from a band or orchestra. However the larger instruments are expensive and harder to handle and so are less often used.

7. One reason to learn the recorder today is to revive the playing of old music. Recorders date back to medieval times ( 500 -1400 ), through the medieval period ( 1400 - 1600 ) and Baroque Period ( 1600 - 1760 ). They were extremely popular in the 16th, 17th and 18th century with music being played from well known composers such as Bach, Telemann and Handel. They declined in popularity from the 18th century in favour of the flute, clarinet and oboe. However it was revived in the 20th century. There are people interested in the medieval period and form societies with regular social events. At these social events the participants dress up in period costume, partake in a medieval banquet and create music with dancing. So a consort of recorders is formed and medieval music is revived. What better chance to combine two interests of recorder playing with the medieval period.

Have these seven secrets on why you would learn the recorder stimulated you to learn.

Review of the Andrew Hill CD Passing Ships

Passing Ships is the latest Jazz CD released by the richly talented Andrew Hill who once again has delivered a brilliant collection of tracks. I'm confident Andrew Hill fans, and Jazz fans alike will be pleased with this one.

I wish it weren't the case but, it's not everyday that I get a CD from an artist that I can just pop in and comfortably listen to from beginning to end. There is usually a song or two that I just can't force myself to get through. Not at all the case with Passing Ships. Every track is enjoyable and was pretty easy for me to listen to from start to finish.

One of the refreshingly nice things about this CD is the way all of the participating artists seem to be really enjoying themselves. Combine that with the overall presentation and you've got one of Andrew Hill's most impressive releases ever.

Overall Passing Ships is outstanding from beginning to end. One of those CDs that after a few listens the songs are just etched into your memory. A must have for the Jazz fan. Really spectacular from beginning to end.

While this entire CD is outstanding some of my favorites are track 2 - Passing Ships, track 5 - The Brown Queen, and track 7 - Yesterday's Tomorrow

My Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 1 - Sideways. Good stuff!

Passing Ships Release Notes:

Andrew Hill originally released Passing Ships on October 7, 2003 on the Blue Note Records label.

CD Track List Follows:

1. Sideways 2. Passing Ships 3. Plantation Bag 4. Noon Tide 5. The Brown Queen 6. Cascade 7. Yesterday's Tomorrow

Personnel: Andrew Hill (piano); Joe Farrell (soprano & tenor saxophone, alto flute, bass clarinet, English horn); Woody Shaw, Dizzy Reece (trumpet); Bob Northern (French horn); Julian Priester (trombone); Howard Johnson (tuba, bass clarinet); Ron Carter (bass); Lenny White (drums).

Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on November 7, 1969. Includes liner notes by Michael Cuscuna.

Friday, July 16, 2010

Types Of Ukuleles

There are many different types of ukuleles available on the market today and are played in a variety of different venues as well as for different types of music. Many of them are shaped like guitars and some are shaped round and called banjo ukuleles.

Ukuleles were introduced in the United States in 1915 and since then have become a popular form of musical entertainment. They were predominant in Vaudeville acts as well as in the Jazz Age. They have even found a way to modern music.

The types of ukuleles range in sizes as well as shapes. The standard ukulele is the soprano ukulele that is also the smallest. It measures 13 inches long, has four strings that play notes g, c, e, and a.

The second oldest of the ukuleles is also a bit larger. The concert ukulele measures 15 inches and also plays the same notes.

In the 1920s, a tenor ukulele was created. This was even larger at 17 inches and also played the same notes. The Baritone ukulele is the newest of the instruments and measures 19 inches long. Unlike the others, the baritone has four different notes, d, g, b, and e. The baritone ukulele is a bit different than the rest as it is tuned like a guitar from low to high.

An oval ukulele is often called a "pineapple ukulele." This comes from the Hawaiian roots. There are also those that are shaped like boat paddles and even some made out of cigar boxes.

There is also the Tahitian ukulele. This is a different type of instrument in that it does not include a sound box. The neck and head is made from one piece of wood and there is a hole in the middle. This can also be carved out of three pieces of wood. The Tahitian ukulele also has a very distinct sound.

Not all ukuleles have only four strings. There are some that have double strings, giving them a wider variety of notes. There are also ukuleles with only three strings and, when doubled, have six strings. Because of the variety of the instruments, it is possible to have quite a variety from which to choose when picking a ukulele.

Ukuleles are made out of wood and are produced in a variety of different places. Many people like these instruments because they are smaller than a guitar and easier to learn to play as they have less strings. Because they are light weight, they are a lot of fun to work with.

Anyone thinking about purchasing a ukulele should take a look at the variety of the instruments online. This way you can discover the type of ukulele that best suits you. You can find all types of ukuleles either in music stores or online. You can generally get a better price online as there is no overhead.

You can also find lessons and tapes on how to learn how to play the ukulele of your choice. Once you have mastered this charming instrument, you will probably want to learn more about the different choices as well as their distinct sounds. The good thing about learning how to play the ukulele is that it is not difficult and once you play one instrument, you can learn the others easily.

Euge Groove "Livin' Large" Smooth Jazz Music CD Review

Livin' Large is the latest release from Smooth Jazz Sensation Euge Groove, and I can only think of one word to describe this CD... AWESOME!

Livin' Large grabs your attention right from the very first note with Don't Let Me Be Lonely Tonight and doesn't let go until the very last note of the very last song Thank You, which by the way is another great track.

Livin' Large is a pleasantly varied, mix of 11 tracks that are very well written songs by this clearly superb artist. With many of the songs displaying a lot of the kind emotion that makes for a really great listen.

Euge Groove is the kind of artist I really enjoy listening to.

If you're even mildly into Smooth Jazz music you'll enjoy this CD. Overall Livin' Large is an a great release. I give it my double thumbs up. You will not be disappointed with one single track.

While this entire CD is outstanding some of my favorites are track 2, Livin' Large, track 7 Too Cool, track 9, Silhouette.

My SmoothLee Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 3, XXL

Livin' Large Release Notes:

Euge Groove originally released Livin' Large on Mar 09, 2004 on the Narada record label.

CD Track List Follows:

1. Don't Let Me Be Lonely Tonight

2. Livin' Large

3. XXL

4. Take You Higher

5. Thank You - (featuring JBS)

6. The Gift

7. Too Cool

8. Talk To Me

9. Silhouette

10. Cabolicious

11. Thank You (Falettinme Be Mice Elf Agin) - (TRUE instrumental)

Personnel: Euge Groove (vocals, soprano saxophone, tenor saxophone, keyboards, samples); Bridgette Bryant (vocals); JBS (rap vocals); Lee Thornberg (trumpet, flugelhorn); Herman Jackson (vibraphone, piano, Fender Rhodes piano, synthesizer); Ollie Marland (Fender Rhodes piano, programming); Ricky Peterson (organ); Jeff Carruthers (keyboards, guitar, programming); David Woods, Johnny Britt (keyboards, programming); Paul Brown (guitar, percussion, programming); Paul Jackson, Jr. (guitar); Alex Al, Roberto Vally (bass); Lil' John Roberts (drums); Luis Conte (percussion).

Thursday, July 15, 2010

Extend Your Vocal Range - Sing Any Song You Want

Extend your vocal range, is a term few vocal coaches talk about. Many singing teachers believe once you've reached breaking point, switching to head voice other wise known as falsetto, is the correct way to continue up the scale. I have recently learned that this is a very huge misconception and am excited to be sharing with you groundbreaking vocal exercises to improve your vocal range.

Whether you are a Bass, Baritone or a Tenor, (male) or a Soprano, Mezzo or Alto,(female) contrary to popular belief, this does not determine your vocal range. Although it is true, certain vocal types sit better in certain keys, one should not make the mistake of thinking the said range, is set in stone.

I have known many people including myself, resign themselves into thinking because they were a certain voice type, that their range would always be limited and so miss out on a lot of opportunities. Sadly the traditional way of vocal coaching has conditioned people into thinking this way.

Time For A New Way Of Thinking

In order to extend your vocal range, you must find a vocal coach, who will specifically give you vocal exercises targeting this area, there is no point going to a every day coach for this, because more than likely he or she would not be able to give you vocal tips in this area..

Vocal Range Exercises

There are specific vocal range exercises, that have been proven to increase ones vocal range by at least an octave. I know a lot of you out there do not think that is possible, all I can say is "whether you think you can or you cant, you are right".

So the question is what do you believe about your singing?

Consider this The human voice was designed to cover well over 2 octaves COMFORTABLY, just by shifting gears at the right time, again this is something rarely spoken about by a traditional vocal coach, which is very sad. Now more than ever are people able to access these special vocal lessons, thanks to a a world renowned coach for the stars "Brett Manning" of whom I will be discussing in a further article.

For any one out there who is ready to take of the old and embrace the new way of singing, please take the time to review my resource box below to find out how this can be achieved.

Buying a New Saxophone - Things to Consider When Buying a New Saxophone

Buying a new saxophone requires minimal knowledge of the types of saxophones available in the market as well as the differences that distinguish them from each other. Saxophones are generally categorized into four types. The first would be the soprano saxophone which is in the key of B flat. Its sound or pitch is higher compared to the other saxophones and is therefore generally considered as the hardest to play. This is not recommended to beginners who are not yet adept at playing the instrument. The second type is called the Alto Saxophone and is in the key of E flat. It is the one commonly played most especially by beginners. This type of saxophone is recommended to beginners because most of the practice materials and compositions for beginners are in the alto pitch. The third one is called the tenor saxophone. It is in the key of B flat and is mostly used for playing jazz and blues as well as rock music. However, the neck of this kind of saxophone is longer than the other types of saxophone making it more prone to damage. The fourth kind is the baritone saxophone. It is usually played for jazz solos. It is the largest among the other three types of saxophone that its players will have to wear a harness to support its weight.

The person buying a new saxophone must determine first the exact purpose(s) for which the instrument is to be purchased. For instance, if one is looking at buying a new saxophone to play mostly jazz or rock music, then the best choice would be the tenor saxophone. But if the person using the instrument is a beginner and wishes to learn more about playing the instrument, then the Alto Saxophone is the best pick. Since these saxophones also come in different shapes and sizes, one who intends to use the saxophone regularly and wishes it to be more handy and manageable as opposed to heavy and sturdy will have to do away with baritone saxophone.

After delimiting one's choice to any particular type of saxophone, the next consideration would be the price. This is very important especially if one has to work with a limited budget. Nevertheless, price consideration is also important vis a vis the market value of the instrument. One would not want to purchase an extremely cheap saxophone as it may render the quality of the instrument in doubt; neither is it wise for anyone to just rush and purchase a new instrument for a price twice its real market price. That would be a total rip off!!

Checking out the manufacturer of the saxophone may also help in ensuring that the saxophone is going to be good quality. This is especially important to ensure that one does not buy an instrument which is difficult to tune, has bad or weak tone, or is easily broken. The model of the instrument may also be helpful in buying a new saxophone. However, for students who wish only to purchase new saxophones for practice and casual playing as opposed to professionally using the instrument, being particular with the model may not be necessary. Finally, when the questions on the type of saxophone, its price, manufacturer and model have been settled it is important to make sure that the instrument is in its best condition. Check for faulty hardware, breaks, leaks, or bent parts. When all these have been observed, one may then proceed to purchase buying a new saxophone.

Wednesday, July 14, 2010

Alex Bugnon "Free" Smooth Jazz Music CD Review

Free is the latest release from Smooth Jazz Star Alex Bugnon, and I can only think of one word to describe this CD... AWESOME!

Unfortunately, it's not everyday that I get a CD from an artist that I can just pop in and comfortably listen to from beginning to end. There is usually a song or two that I just can't force myself to get through. Not at all the case with Free. Every track is enjoyable and was pretty easy for me to listen to from start to finish.

Free has a nicely varied, mix of 10 tracks that are very well written songs by this clearly gifted artist.

One of the nicer things about a CD like this is with this level of talent even if Smooth Jazz isn't your favorite style you still can't help but appreciate the greatness of the artist.

Listen to this CD and I believe you'll find there's not much to dis-like about it. The songs are inspired and the overall production is simply outstanding. If you're even mildly into Smooth Jazz music you'll enjoy this album.

While this entire album is outstanding the truly standout tracks are Free [track 1], In Your Eyes [track 4], and Pillow Talk [track 8].

My SmoothLee Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 6, Downtime. Wow!

Free Release Notes:

Alex Bugnon originally released Free on Oct 04, 2005 on the Narada record label.

CD Track List Follows:

1. Free

2. Fingertips

3. Carrera

4. In Your Eyes

5. Sierra Leone

6. Downtime

7. Tomorrow (Better You, Better Me)

8. Pillow Talk

9. Don't Go

10. Out There

Personnel include: Alex Bugnon (piano); Vincent Henry (harmonica, soprano saxophone); Victor Bailey (bass instrument); Sonny Emory (drums).

Jeff Lorber - Philly Style - Jazz Music CD Review

The exceptionally talented Jazz artist Jeff Lorber has released him CD entitled Philly Style. I am very confident and happy to announce that I believe Jeff Lorber fans, and Jazz fans alike will be pleased with this one. With the release of Philly Style Jeff Lorber's artistic excellence is on full display as Lorber has once again delivered a brilliant collection of tracks that could very well be him best work to date.

It's a rare day indeed that I get a CD from an artist that I can truthfully say does not have a bad track in the bunch. I'm more than happy to announce that's exactly what I must say about this one. There simply is NOT a bad one in the bunch. No fillers here at all.

The nice thing about a CD like this is when the talent is this rich even if Jazz isn't your favorite style you still can't help but appreciate the greatness of the artist.

Philly Style is a first rate CD, delivering a little something for everyone. I give it my highest recommendation. It's quite simply great listening. A must buy if you're even mildly into Jazz music.

While this entire album is outstanding the truly standout tunes are track 3 - Regardless Of, track 9 - When She Smiles, and track 10 - Serpentine Lane.

My Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 1 - Under Wraps. Good stuff!

Philly Style Release Notes:

Jeff Lorber originally released Philly Style on March 11, 2003 on the Narada label.

CD Track List Follows:

1. Under Wraps

2. Gigabyte

3. Regardless Of

4. Philly Style

5. Soul Food

6. Laissez Faire

7. Step On It

8. Uncle Darrows

9. When She Smiles

10. Serpentine Lane

Personnel: Jeff Lorber (arranger, piano, Wurlitzer piano, Fender Rhodes piano, synthesizer bass); Naila (vocals); Gary Meek (soprano & tenor saxophones); Dan Higgins, Richard Elliot (tenor saxophone); Ron King, Jerry Hey (flugelhorn); Bill Reichenbach (trombone); Nelson Jackson, Robbie Nevil (keyboards); Tony Maiden (guitar); Alex Al (bass); John Roberts (drums); Lenny Castro (percussion).

Recorded at JHL Sounds, Pacific Palisades, California.

Tuesday, July 13, 2010

About the Pianist Nat "King" Cole

Nat "King" Cole was born on March 17, 1919 in Montgomery, Alabama. He was a popular musician from the 1940's to the 1960's. His unique honeyed voice, showmanship and piano playing ability made him well loved by fans globally.

This talented pianist was the son of a Baptist preacher named Edward James Coles. He changed his last name from Coles to Cole as his stage name. His mother's name was Perlina Adams. She directed the church choir and sang soprano.

Although he was born in the south, his family eventually moved to Chicago where he was raised. His musical talent started to become evident as early as age four. He began to play the organ for the church at age eleven and organized and led a band during high school. He sang and played piano for his high school's 14 piece band.

Nat had one marriage to a woman named Nadine that ended in divorce. He then met the love of his life, Maria Ellington, in 1947 and married her within a year. She was also a singer and they met while performing at the same club in New York. Nat and Maria had a happy marriage and five children. Musical talent was inherited by his offspring, as well. One of his daughters, Natalie, was also a vocalist and musician.

In 1956, the "Nat King Cole" show was launched on television. It was popular with many and had impressive guests such as Mel Torme and Ella Fitzgerald. Unfortunately, even with its large audience, it ended after only a year due to the lack of advertisers willing to stand behind a black celebrity. He is quoted as saying "Madison Avenue is afraid of the dark".

His voice was probably his hottest commodity. It has been compared to velvet and is said to be simultaneously soothing and alluring. His piano playing talents are renowned, as well. He formed and led the King Cole Trio with a bassist and guitarist, who were known for their flair with swing music. The guitarist was Oscar Moore and the original bassist was Wesley Prince. Prince eventually left the trio and was replaced by Johnny Miller.

The man's records sold like wildfire. He recorded voice, piano in solos, trios and backed by orchestras. Even though some of his jazz fans were unhappy about it, he eventually focused on singing and left his piano work on the sidelines. His records were consistently high sellers.

Cole was a kind man as well as a talented one. Unfortunately, he died young and left many heartbroken friends, family and fans. At the age of forty-five, Nat "King" Cole died of lung cancer. The date was February 15, 1965.